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Tracks recorded discontinuously Autumn 2002 to
Summer 2006 at Pete Townshend's home studio and Eel Pie Oceanic Studios,
Twickenham. [according to a diary entry by Pete May 20, 2006, he had finished
recording all his parts by that date. Roger was to record his vocals for the
album "this week."]

Mixed by Pete Townshend between performances on The
Who's 2006 European tour. [The tour officially began June 17 at Leeds University
and concluded July 29 at Zaragoza, Spain.]

Rebalanced and finalised by Myles Clarke.

Mastered by Ian Cooper at Metropolis Mastering,
London [Mastering was reported completed August 24.]

Front cover by Richard Evans utilizing elements created with the Visual
Harmony software designed by Dave Snowdon and Lawrence Ball. Evans also
designed the covers for Who's Missing, Two's Missing, and
The Blues to The Bush.

Endless Wire was released as Polydor B000J3DEI8 Oct. 30,
2006 in the U.K. It reached #9.
Released in the U.S. as Universal Republic
B0007967-10 on
Oct. 31, 2006, it reached #7.

[Most editions of Endless Wire feature the
two bonus tracks listed below. The U.S. edition included the bonus tracks for
the vinyl version, added the DVD Live At Lyon for the Limited Edition and
added a second CD of Live At Lyon as well for a limited release at Best
Buy music stores. Canada got the Live At Lyon CD but not the DVD for its
Deluxe Edition. Argentina, Germany, France, Indonesia and Taiwan got the single CD without the
bonus tracks. ]

Pete Townshend: "...the song
is based on the continuation of the 'Method' music way of creating
individual pieces of music dictated by parameters and information from
individuals, which I first explored in the 'Lifehouse' project in the early
Seventies. 'Fragments' is based on the initial experiments with composer
Lawrence Ball who helped create a software system and website. The Method has
been a recurring theme of mine over the years and I returned to it in my novella
'The Boy Who Heard Music' in which 3 young people form a band called The Glass
Household, and the song 'Fragments' is their first big hit."

Co-author
Lawrence Ball is a composer and musician of the "minimalist" style (he
cites
Terry Riley as an influence) who is also a highly sought-after mathematics and
physics tutor. His website is located here.
"Fragments" had its live premiere performed by The Who Sept. 12, 2006 and was
the first song of new material performed during shows for the remainder of the
Endless Wire tour. The background screens accompanying the song showed
waves crashing on rocks. Pete opened his "Method" website, using the same
computer program that generated the music in "Fragments," to the general public
May 1, 2007. It is located
here.

Pete: "After watching Mel Gibson's
harrowing 2004 film 'The Passion of the Christ,' I immediately wrote
three songs. This was one of them. It is not so much a rail against the
principles of justice through the ages, but a challenge to the vanity
of the men who need to put on some kind of ridiculous outfit in order
to pass sentence on one of their peers. It is the idea that men need
dress up in order to represent God that appalls me. If I wanted to be
as insane as to attempt to represent God, I'd just go ahead and do it.
I wouldn't dress up like a drag-queen."

Pete premiered this song on the Mar. 22, 2006 webcast In The Attic. It
has strong ties in style and vitriol to the songs on The
Freewheelin' Bob Dylan (1963), an album that greatly influenced Pete
as a young songwriter (as it did most every other English-language songwriter for that matter). In
concert this song was illustrated on the monitors by Francis Bacon's
painting Head VI (1946).

Pete:
"Who songs have been used recently for TV shows. I thought a lot about why
there are people who feel that isn't a cool thing to do. Mike Post is a man who
has written a number of TV themes that I feel have created a kind of regular
sparkle in my life -- they have reminded me that life comes one day at a time,
and that it is truly the little things in life (like soap operas on TV) that
help ease the big troubles. The larger theme in the background of this song is
the statement that we are no longer strong enough or young enough to love. In a
very real way, movies, novels and TV series do help us to express selfless
emotions as we once did when we were in love. Men cry quietly watching TV and
movies, women maybe a little more openly, but when we do that we are
reconnecting with our innocent and free-flowing feelings. If only we could still
do that with the principle lover in our lives."

From an
interview with Mercury News: "TV series, and their theme tunes, do two
impossible things: They defy time and ageing by allowing us to live forever
vicariously in the characters we watch, but they remind us that time is passing,
show by show, week by week. When I first came to the U.S. in 1967, I Love
Lucy was always on TV somewhere. When I saw her pretty face, I was
reminded how much older she must have become, how much younger I was (then) than
she. Today the same shows remind me I have overtaken her TV persona. There is a
valuable poignancy there that is not sentimental in any way, and yet reaches to
the heart of human vulnerability. Mike Post's theme from Hill Street Blues
reminds me that once I associated the sound with a cop who couldn't deal with
his drink problem. Now I hear it and I remember a brother, for pretty soon I was
facing the same problem."

From an
interview with the St. Petersburg Times (Florida): "TV
music lives in a different pocket to other pop music. It is ubiquitous and
perennial, and we are constantly revisited by music from other eras as series
are rehashed over and over. This cycle of new and old music, woven into the
ordinary rhythm of our daily lives, creates a real sense of timelessness. When
we hear the theme from M.A.S.H. we remember so many aching
feelings – of course we are reminded of the Vietnam war, but at the same time of
how old we were, and in my case how apolitical I was about it all, who we were
in love with, where we lived. We grow older and hopefully wiser, but the music
remains the same."

"Mike
Post Theme" was first played live by The Who in their return performance at
Leeds University June 17, 2006. The composer Mike Post has won an Emmy and five
Grammys and had two Top Ten singles in the U.S., "Theme from 'The Rockford
Files'" and "Theme from 'Hill Street Blues'." He is four months younger than
Pete and is reported pleased with the salute from his fellow TV-theme composer.

Pete: "In my Novella The Boy Who Heard Music the
narrator is Ray High, a rock star whose drug-abuse has led him to a
sanatorium. While there he learns to meditate and begins to sense that
someone is interfering with his quietude up in the place where he allows
his mind to go. It seems almost as though they are using a Ham Radio,
and old fashioned long-wave radio that was the specialist precursor to
the modern internet Chat-Room. He may sense another presence, but this
song reinforces how lonely it is to be ‘spiritual’. If the intention of
the spiritual aspirant is to ‘become one with the infinite’, and yet
life is almost the universally finite antidote to the infinite, isn’t he
likely to get very lonely?"

In
the Observer Music Monthly (Sept. 2006) Pete said "In The Ether" was one
of the first songs he wrote inspired by his novella The Boy Who Heard Music
and was intended to resemble the theatrical songs of Stephen Sondheim (Sweeney
Todd, Sunday in the Park with George). To Mercury News he denied
that the voice he uses on this track was an imitation of Tom Waits: "That's me
singing. I'm 60 years old pretending to be 80. My voice is an instrument I can't
always control. I love Tom Waits, but listen to him, he sounds like gravel being
hauled through an oil can. I just sound a teensy bit gruff."

One of
the reasons Pete sings the song on the album is that, when he initially played
the song for Roger, it got a rather cool reception. "I played it to Roger and
about a month passed. In the end, I got on the phone and said, 'So, what did you
think?'" Daltrey: 'It's a bit music-theatre. Maybe if you didn’t have piano but
just had guitar…' Townshend: ‘Yeah, and maybe if it was three guitars and was
rock'n'roll and sounded like "Young Man Blues" it would be OK.' And then
Townshend put the phone down. 'I was really, really hurt...'

"In The
Ether" was premiered by Pete with his partner Rachel Fuller Sept. 25, 2005 at
the Poetry Olympics held in the Royal Albert Hall, London. On Oct. 29, 2005,
Pete supplied this track as an mp3 download on his website. It featured a
different mix from the album release version.

Pete: "A
love song. We sometimes fall in love when we do not want to, and when we do not
expect to. Suddenly. Foolishly. This song is about the man holding a child in
the Beslan massacre who described the female terrorist who blew herself up,
killing the child he held, as ‘having the most penetrating and beautiful eyes’."
Roger: "Pete's written a song about Stockholm
syndrome. It's called 'Black Widow's Eyes.' The fact that he's done that in
music and words, and he completely sums up Stockholm syndrome in this song, is
so haunting."

The song
refers to a hostage crisis at School Number One in the town of Beslan in North
Ossetia. On September 1, 2004, Islamic Chechan terrorists seized the school,
holding over 1200 adults and children hostage. Russian troops stormed the school
and 344 people were killed, either murdered by the terrorists or caught in the
crossfire. Among the Chechan terrorists were women wearing traditional niqabs
(veils) covering their faces showing only their eyes. They were wearing
explosives in order to be used as suicide bombers. Such terrorists were given the
name "shahidka" in Russian or "black widows" in English after a similar hostage
taking in a Moscow theatre in 2002. At press time, I have been unable to find
the article with the words of the survivor of the Beslan massacre Pete quotes above but
there is a similar quote from a survivor of the Moscow theatre massacre:
"But her eyes! You should have seen these eyes - crazed and shining, awful, as
if she was doped up with some narcotic. Our guard was always with us, but I
never saw her shoot up or swallow any pills. Such are the eyes of a kamikaze."
(L. Stepanova, Okna, Apr. 2005).

"Black
Widow's Eyes" was released as a promotional CD single in Europe backed with
"It's Not Enough." It had its live premiere performed by The Who in
Philadelphia Sept. 12, 2006.

Pete:
"This is one of the three songs I wrote after watching The Passion
of the Christ. This one is about the fact that Judas may not
have been acting to betray Christ at all, but precisely following his
instructions. He waits two thousand years for us to consider this a
possibility. We wait two thousand years for the New Christ. We need a
lot of patience." Pete
from In The Attic: "The song is about waiting for Jesus to come
two thousand years and, of course, he's been a couple of times already but we
missed it because we've been looking for a man with a beard and actually he was
in Iran and his name was Mohammed but we missed him and a few others probably in
between as well."

The song
performed by Pete solo had its live premiere on an In The Attic
webcast March 22, 2006. Could one be forgiven thinking this is an answer song to
all those who complained about waiting twenty-four years for a new Who album?
Try waiting 2000 years for a messiah!

Pete: "Very simple song. God is asleep, before
Creation – before the Big Bang – and gets the whim to wake, and decides it could
be worth going through it all in order to be able to hear some music, and most
of all, one of his best creations, Marty Robbins." Pete also wrote about the
origin of the song on his website Nov. 29, 2005:
"I am going to show The Theme of Creation on TowserTV...This is a film made by Tim Thelen about
Meher Baba's extraordinary (and somewhat baffling) book God Speaks in
which he explains the Universe. The film closes with a guitar piece I wrote
called Marty Robbins. Tim's film really helps me get to grips with what the book
is conveying about our human function. I have since written words for the piece,
that I've rechristened "God Speaks - through Marty Robbins." When I've done a
vocal on it I'll post it."

Marty Robbins was a well-known Country & Western
artist from Arizona who won the first Grammy for a C&W song, "El Paso." He also
had the first hit record featuring fuzz-tone guitar, "Don't Worry," in 1961 and
became one of country music's giants long before his death in 1982. This song
originally appeared as an instrumental demo called "Marty Robbins" recorded by
Pete in June 1984 and included on his Scoop 3 album. The song had its
live premiere performed by Pete on an In The Attic webcast at
Oceanic Studios Dec. 17, 2005. In Pete's liner notes, the title contains a comma:
"God Speaks, Of Marty Robbins." Although not otherwise listed as related to
the piece, this song was included in the 2007 theatrical workshop version of The Boy Who Heard Music, sung by the characters of Gabriel and Ray
High.

Pete: "Watching Mépris, the ‘60s film by
Lean Luc Godard starring Bridget Bardot, I found myself wondering why it is that
we choose people to partner who we feel aren’t quite right. Bardot asks her
lover, 'Do you adore my legs?' He nods. 'My breasts?' He nods. 'My arms?' He
nods. She goes over her entire body. He nods every time. When she’s finished she
gets up and tells him, 'It’s not enough'. Co-author Rachel Fuller: "The track that's gone to radio from the Who
album, funnily enough, is 'It's Not Enough.' I wrote that. I don't know how Who
fans are going to feel about that [laughs]. It's a song that I had written and
recorded with my band, and Pete said, 'I think this would make a really good Who
track -- can I have it?' He didn't use the lyrics I originally had on the song.
So I suppose you could say that I wrote the music, and he wrote the lyrics."

The movie
Le Mépris (1963) is best known in the English-speaking world under
the title Contempt. It concerns a French screenwriter who loses
his wife's respect when he sells out to a crass American producer (Jack Palance).
The scene Pete refers to above is the movie's second scene, included at producer
Carlo Ponti's insistence in order to provide some Brigitte Bardot nudity.
However, the
scene does not end as Pete describes above but rather with the writer declaring
his love and Bardot's character agreeing. "It's Not
Enough" was released in the U.S. and U.K. as a promotional CD credited as "Chris Lord-Alge
Mix." CD singles pressed in the U.K. feature an extended guitar part unavailable
elsewhere and clocks at 4'08. Although not otherwise listed as related to the
piece, this song was included in the 2007 theatrical workshop version of
The Boy Who Heard Music, sung by Gabriel, Josh and Leila.

Pete: "I wrote this a few minutes before appearing on my
partner Rachel Fuller’s In The Attic Live webcast show from my
studio in London. I had nothing new to play, and decide to write a song. This
just came out. It is for her, and for Roger, for believing in me, and standing
by me when I have been completely out of order. It could be for many of my
family, friends and fans who have done the same. I have often been a very tricky
man to live with."

Pete
added in an interview with the Los Angeles
City Beat, "What then actually happened is Roger spotted this stuff and fed back
to me, 'Hey, I love this!' And I was taken by surprise. Really?"

WIRE &
GLASS: A MINI-OPERA

Wire & Glass is based on Pete's novella The Boy Who Heard Music, a
sequel to his 1993 solo work Psychoderelict. In that piece, Ray High, a
rocker based on a combination of Pete's history along with other rock figures,
has become a recluse after the break-up of his band, endlessly tinkering with a
concept called "The Grid" he developed in the early 1970's. His manager Rastus
Knight, in collusion with his lover, the rock gossip columnist Ruth Streeting
(based on Julie Burchill), concoct a scheme to force Ray back into the limelight
by means of a phony scandal. The Boy Who Heard Music picks up many years
in the future with Ray long the inmate in an insane asylum either remembering or
hallucinating a 1980's band called The Glass Household that revives his Grid
idea and "makes his dream come true."

Pete
reportedly began writing a film treatment called The Boy Who Heard Music
while in New York Oct. 1999. He later mentioned he began writing the work Sept.
24, 2000 during The Who's U.S. tour, finally writing it out longhand during
Feb.-Mar. 2001. The first mention shared with the outside world was a short
synopsis in a Pete diary entry from Dec. 23, 2001 at the end of which he wrote,
"Pretentious? Self-obsessed? Grandiose? Pompous? I hope so." Matt Kent
announced on Pete's website Sept. 20, 2003 that the new Who album would be built
around the novella with a proposed release date of March 2004 (it was ultimately
delayed by Pete). Another diary entry from Pete (Oct. 10, 2003) mentioned he was
then in his home studio trying to write songs for the story. Pete shared the
novella with some of his long-time friends but was discouraged by their response
(Tom Wright's disapproval is mentioned in his 2007 book Roadwork). On
Sept. 24, 2005, the fifth anniversary of starting the writing, Pete began
serializing the novella on a blog. His readers' mostly positive responses melded
with a suggestion by Eel Pie manager Nick Goderson to turn the story into a
"mini-opera" along the lines of "A Quick One While He's Away." Pete started
writing "seven or eight short lyric poems" sketching out the story on Jan. 10,
2006 and recorded a few demos that let him know by Jan. 17 that he had "about 30
minutes of music that would create a vigorous backbone for the Who album."
Recording proper for the backing tracks began Feb. 28, 2006. Rachel Fuller's
drummer Peter Huntington was used on these tracks because Zak Starkey was still
on tour with Oasis at the time.

The theatrical
workshop production of The Boy Who Heard Music, held at Vassar
University July 13-15, 2007, added a number of songs to the project. In addition
to those mentioned above (and "Real Good Looking Boy" -- see Who's Left
[Studio] liner notes) were "Piano Prelude" (instrumental), "I Can Fly"
(written by Rachel Fuller - sung by Lelia), "There's No Doubt" (Gabriel, Josh
and Ray High), "She Said He Said" (Gabriel and Leila), and "Uncertain Girl"
(Josh). "I Can Fly" was performed by Rachel Fuller on the Dec. 17, 2005 webcast
of In The Attic and "Uncertain Girl" by Pete on the Apr. 11, 2006 webcast.

Pete: "The first song from Wire & Glass, a
'Mini-Opera', ten songs that comprise the principle music composed so far for
the novella The Boy Who Heard Music. A young man (the young Ray High) is
driving a large camper bus with extreme air-con around an Estuary close to a
large Power Station. He can see that the sea is swarming with a plague of
jellyfish encouraged by the over-heated sea water (this is based on something
that happened around 1971 in the Blackwater Estuary in Essex). He stops and
looks at the water, throws a stick for his dog, who he has to rescue. In the sky
he sees the future – nothing ecological or apocalyptic, more a vision of a
society strangled by wire and communications."

Included
in the live version of the mini-opera that had its live premiere by The Who at
Leeds University June 17, 2006.

Pete: "Ray High, now an old '60s rocker, is meditating in
what looks like a cell in a secure hospital. He sees three teenagers from his neighbourhood getting together as kids do, playing, flirting, talking, and
forming a band. Then he has an intuition that they are going to become stars.
They are Gabriel, Josh and Leila. (They call their band The Glass Household). In
striking contrast he sees scenes from his own childhood in the same
neighbourhood, bombed buildings and old soldiers."

Pete from
an Oct. 16, 2006 interview with Rachel:
"'Pick Up The Peace' which is about, how do we find a way to relate to the
possible peace in society, and our community, and also the inherent peace in the
universe?"

Pete: "The three kids are from very different families.
Gabriel is from a show biz family of lapsed Christians. Josh is from a fairly
devout Jewish family (they observe Sabbath) who have suffered a tragedy, the
loss of their father in an incident in Israel [a suicide bombing - BSC]. Leila, from a Muslim family who
have also suffered a loss: that of her beautiful and charismatic mother who died
when she was very young. They each share fantasies, and afflictions, gifts and
ideas, and become deeply committed friends. Like urchin-angels they share their
secrets: Gabriel hears music; Josh voices; Leila can fly."

This was not
included in most live performances of the mini-opera. It was performed at shows
in Philadelphia (Sept. 12, 2006), Jones Beach (Sept. 13, 2006) and Calgary (Oct.
5, 2006).

Pete: "Josh's widowed mother vests all her hopes in her
brother Hymie becoming a great man. He falls in love with Trilby, Gabriel’s
goofy blonde Aunt. Trilby is the one who has nurtured Gabriel's great musical
talent, unnoticed by his preoccupied mother. The kids decide to put on a
musical play at Leila's father’s studio featuring this song, and it finally
breaks Josh's mother's resistance to the love match. The song is sung by
Gabriel. The play is a naive children's effort, but with a grand proscenium
stage (like a large Victorian puppet theatre) a stairway and a cherub and angel
filled backdrop."

Pete
first mentioned this piece in a U.S. interview
from Autumn 1996: "The piece I'm working on at the moment is quite a modest
piece called 'Stella'; out of that grew another piece called 'Trilby's Piano,'
which was a thing about something that happened to me when I was a kid with an
aunt of mine--a very positive experience for me. I've started to look at the
more positive experiences I've had in my life, and I find it very difficult to
compose for that stuff because I've spent most of my time drawing on my negative
experiences, or what I would call my growth experiences."

Pete: "At some point in their rehearsals for the play, the
three teenagers unearth documents that turn out to have belonged to Ray High,
Leila’s father’s old studio partner. The documents refer to a crazy scheme to
use the global wire network Ray saw as a young man to spread unifying music to
everyone. (This matches my own vision for the Lifehouse Method, a
computer-driven website through which people can commission their unique musical
portrait.) They pore over the plans and realize that his scheme might be
something they can make happen."

Pete: "In a series of intense discussions the three
metamorphose from kids to adults and expert media and internet manipulators and
we see them performing a hit on TV, radio and stage. The hit referred to in the
lyric is FRAGMENTS."

Pete: "Still in his cell, Ray High can observe the kids’
rise to fame while meditating. He foresees a tragedy, someone at the band’s
biggest ever, and last, concert will die. He rues the fact that the rock
industry seems unable to change. What is never clear is whether the concert he
foresees ever takes place in reality, or actually remains a dream forever."

Pete gave
more of the background for this song in a Sept. 10, 2006 interview in The
Republican (Springfield, Mass.): "In this part of the story the aging narrator
who is singing refers to two tragedies. One is an incident a little like the
Stones' Altamont or the Who's Cincinnati, where audience members die. The other
incident is the possible death of a member of the young band, maybe murdered by
one of his band mates; it isn't entirely clear. The dream he sings about is that
they bring computerized tailor-made music to the Internet..."

Pete: "The three pursue their own dream: to perform an
extraordinary elaboration of their children’s play in Central Park in New York
that is webcast to the entire world for charity, and during which they
demonstrate Ray’s idea to 'turn everyone into music'. Where there was once a
small puppet theatre stage, there is now a massive one; where there was once a
small stairway to the back of the stage, there is now a stairway hoisted by
blimps that seems to reach into the heavens. The band play, it becomes clear
that there are terrorists on the streets trying to distract from the
celebration, but the show goes on. At the top of the stairway appear gathered a
series of legendary singers from popular music, all dead. A shot rings out and
the tragedy is established. Josh, a paranoid schizophrenic, has stopped taking
his medication and grabbed a pistol from someone and shot Gabriel. We cannot
help our own. He ascends the stairway to join the dead. Even now, it is not
clear whether this particular series of events actually takes place.

"It will be noted that one of the listed names of deceased singing geniuses
(Doris Day) is still alive. In show-biz heaven, behind the 'Mirror Door' no one
ever really dies (it is rather like an after-show pub gathering). FRAGMENTS, the
kid’s biggest hit, becomes a moment to look back and celebrate life, death,
breath, creation, science, physics, maths, literature and growth."

Pete
elaborated on the meaning of this song in an Oct. 16, 2006 interview with Rachel:
"'Mirror Door' which is really a poetic description of what I think happens when
people go to concerts. I think if we're there to see a band, if it's a really
great concert, we become caught up in the music, and hopefully if we forget
ourselves for long enough, when the music stops, we'll find ourselves thinking,
'Something has happened.' And I don't mean that the band has made us better
people, or that the band's music has raised us up. I mean that we, in the
audience, have in a sense meditated. They will, in a sense, been able to escape
from 'time' for a period. And in our knowledge, in our ability that we can do
that, we learn a lot about ourselves, and so in a way, we learn about what we
need, and what we enjoy. And the fact that we do it at a concert, in other
words, with the company of other people, we share that, it's what makes it so
special."

Included
in the live version of the mini-opera.

"Mirror
Door" was also released as a promo single in the U.K. with no crowd noise and
less reverb than was used on the Wire & Glass EP. It was later
re-released there using the album version without the crowd noise. This version
was also issued as promos in Australia, Denmark and Israel.

Pete: "Years later Josh and Leila – now old - take tea
together. Coincidentally Josh’s protective sanatorium cell is next to Ray’s and
they have just – together – revived once again the children’s play, this time
with the inmates of the sanatorium. They reflect on their career and lives
together. The inference here is that perhaps, just maybe, Ray (the narrator) has
confused the play he just saw in the Sanatorium with the one they all hoped to
see happen one day in New York, in the sky, and up into the universe."

"Tea &
Theatre" was released in the U.S. as a promotional CD credited as "Chris Lord-Alge
Mix" although it is identical with the album mix. The promo was reviewed in
Billboard Magazine Oct. 14, 2006. During the 2006-2007 tour, the song was
the final song of the concerts, performed by Pete and Roger alone on the stage.

The CD
single was released July 24, 2006 in the U.K. and Australia. It was preceded by
an iTunes release in the U.K. July 17 and was also released as a one-sided 12"
vinyl limited edition. Promo versions were issued in France, Germany, The
Ukraine and Ireland as well.

Although
called Live At Lyon, this show actually took place in Vienne, France about 33
kilometers south of Lyon. The venue was built during the reign of the Roman
Emperor Augustus. Restored in 1938, it is now used for rock concerts as well as
an internationally famous jazz festival. "Justafrog," who supplied the picture
accompanying this section, reviewed the gig at
LongLiveRock.org:

"The theatre is a marvelous sounding place and
everybody feels very close to the boys. Exactly the inverse of big stadiums.
Pete, not in a big jive tonight tell us how amazing he feels the place. The
band is in a great mood very powerful. No pop but absolute rock to get a
massive reply, which he gets of course. Pete has a fantastic energy, playing
loud, hitting guitars to get more sound, jumping and smiling to the stars.
Roger maybe a little down in the beginning sings in the same way, just going
not so high as necessary on Behind blue eyes. He plays a nice intro on
acoustic guitar on Naked eye and comes real great on the Relay. This one is
for me and Chris the French mod, my old Who fellow, the very top of the show
with WGFA which finishes it. Pete is completely ecstatic trying to get more
power, windmilling with perfect precision, letting go short solos nobody
knows where it comes from ... Extra terrestrial playing."

THE
SEEKER 2'36

WHO
ARE YOU 6'58

MIKE
POST THEME 3'55

RELAY
7'40

GREYHOUND GIRL 3'04

NAKED
EYE 8'26

WON'T
GET FOOLED AGAIN 10'40

BONUS
DVD:

THE
WHO LIVE AT LYON

Same
information as CD above

I
CAN'T EXPLAIN3'04

BEHIND
BLUE EYES4'39

MIKE
POST THEME3'41

BABA
O'RILEY5'59

WON'T
GET FOOLED AGAIN10'03

If you want to
contact me about something on this page, click on my name. I want corrections! Brian Cady